Structural Injustice advances a theory of what structural injustice is and how it works. Powers and Faden present both a philosophically powerful, integrated theory about human rights violations and structural unfairness, alongside practical insights into how to improve them.
Though he'd found his life's calling ministering to London's underclass, Dr. Ian Russell hadn't yet found his life's mate. Then the former army surgeon encountered the enchanting stage actress Eleanor Neville. Ian's good works and strong faith set him apart from other men Eleanor knew. But despite his fascination with her glittering world, Eleanor feared her notorious past would end their future together before it had even begun. Could true love and faith overcome all obstacles and make their lonely hearts as one?
A fantastic tale of peril and heroic deeds set in Idzumo, the old Japan of legend and living folklore. Marishoten, the evil Black Iris Lord, seeks to overtrhow the Mikado and usurp the Chrysanthemum throne. First he must find the plum roll scroll, which holds the three secrets that will help him to achieve his victory.
1 This book is the product of a one-year project conducted by the Hastings Center, Institute of Society, Ethics and the Life Sciences, during 1976-1977. The Behavior Control Research Group-an ongoing, interdisciplinary working group com posed of philosophers, psychiatrists, psychologists, social sci entists, and lawyers-met four times over the course of the year with special consultants with expertise in the field of mental retardation. At those meetings, participants gave in formal presentations, which were followed by group discus sion. As the project progressed, formal papers were delivered and subjected to further critical commentary. This volume, in two related parts, represents the deliberations of the group as a whole, and then offers individual papers prepared by some scholars in order to give a sense of the kind of specific arguments on which the general conclusions were based. We undertook the project to examine: (1) questions of competence and consent; and (2) the practical implications, lThe project, entitled "Ethical Issues in the Care and Treatment of the Mildly Mentally Retarded," was supported by the EVI5T program of the National Science Foundation under Grant No. 05576-14793. Any Opinions, findings, conclusions, or recommendations expressed herein are those of the authors and do not necessarily reflect the views of the National Science Foundation. ix x PREFACE in terms of care and treatment, that evolve from differing definitions and models applied to mental retardation.
As part of France’s opposition to the independence of its former colonies in the years following World War II, its army remained deeply invested in preventing the decolonization of the territories comprising French West Africa (FWA). Even as late as the 1950s, the French Army clung to the hope that it was possible to retain FWA as a colony, believing that its relations with African soldiers could offer the perfect model for continued ties between France and its West African territories. In The French Army and Its African Soldiers Ruth Ginio examines the French Army’s attempts to win the hearts and souls of the local population at a time of turbulence and uncertainty regarding future relations between the colonizer and colony. Through the prism of the army’s relationship with its African soldiers, Ginio considers how the army’s activities and political position during FWA’s decolonization laid the foundation for France’s continued active presence in some of these territories after independence. This project is the first thorough examination of the French Army’s involvement in West Africa before independence and provides the essential historical background to understanding France’s complex postcolonial military relations with its former territories in Africa.
This deeply imaginative and wide-ranging book shows how, since the first centuries of the Christian era, gentiles have associated Jews with noise. Ruth HaCohen focuses her study on a "musical libel"--a variation on the Passion story that recurs in various forms and cultures in which an innocent Christian boy is killed by a Jew in order to silence his "harmonious musicality." In paying close attention to how and where this libel surfaces, HaCohen covers a wide swath of western cultural history, showing how entrenched aesthetic-theological assumptions have persistently defined European culture and its internal moral and political orientations.Ruth HaCohen combines in her comprehensive analysis the perspectives of musicology, literary criticism, philosophy, psychology, and anthropology, tracing the tensions between Jewish "noise" and idealized Christian "harmony" and their artistic manifestations from the high Middle Ages through Nazi Germany and beyond. She concludes her book with a passionate and moving argument for humanizing contemporary soundspaces.
An archaeological survey of Calling Lake, situated in the mixed wood forest zone approximately 225 km north of Edmonton, found an abundance of prehistoric material at sites on the east and southeast shore. Four prehistoric campsites were excavated in three field seasons from l966 to 1968. Comparison of projectile point styles with types dated elsewhere suggest that occupation of two of the sites began in the interval 3000 to 1000 B.C. with major occupation of the other two sites starting somewhat later. Cultural affiliations appear to be with the Taltheilei tradition and earlier, with the Plains area.
Maddie Norton had long since resigned herself to her spinster's lot. Her life was devoted to her simple yet enduring faith, to good works and to the elderly lady whose companion she was. She believed herself content. But that was before her mistress's handsome nephew returned to London, after many years spent abroad as an archaeologist. The shadows in Reid Gallagher's memory-haunted eyes touched Maddie's heart. When he asked her to travel with his family, to help with his work, she could scarcely refuse. And as she came to know this man better, amid the breathtaking beauty of the Scottish Highlands, she began to wonder if two solitary souls might yet find new life?and love?as one.
This book examines the history of political continuity and conflict in East Timor between 1974 and 2006, and the origins of an unexpected crisis in 2006 which caused an international military intervention and several more years of UN missions. Providing a fresh and empirical political history to explain the crisis, the book offers new dimensions to the understanding of East Timor, its independence struggles, political transition and politics after independence in 2002. The author revisits historical materials and brings to light new resources, making extensive use of the 2005 Report of the Commission for Reception, Truth and Reconciliation and contemporary diplomatic, UN and news media reports, to provide a precise context and chronology for the events in 2006. The book provides an analysis within which factors such as ethnic and inter-communal violence, security sector weaknesses and conflict between the army and police, the constitution and legal system, state-building and peace-building can be located in the larger context of the 2006 crisis. Demonstrating how and why, in the space of four weeks in April and May 2006, the newly independent country of Timor-Leste plunged from ‘UN success story’ into catastrophe, this book will be of interest to academics working on Southeast Asian Politics, Southeast Asian history, Development Studies and Nation-, State- and Peace-Building and International Relations.
The first sustained examination of a canonical and widely exhibited work by a leading artist of the former Yugoslavia. In Sanja Iveković's Triangle (Trokut, 1979), four black-and-white photographs and written text capture an eighteen-minute performance from May 10, 1979. On that date, a motorcade carrying Josip Broz Tito, then president of Yugoslavia, drove through the streets of downtown Zagreb. As the President's limousine passed beneath her apartment, Ivokevic began simulating masturbation on her balcony. Although she could not be seen from the street, she knew that the surveillance teams on the roofs of neighboring buildings would detect her presence. Within minutes, a policeman appeared at her door ordered her inside. Not only did Ivekovic's action expose government repression and call attention to the rights of women, it also called attention to the relationship of gender to power, and to the particular experience of political dissidence under communist rule in Eastern Europe. Triangle is considered one of Iveković's key works and yet, despite Iveković's stature as one of the leading artists of the former Yugoslavia, it has received little direct attention. With this book, Ruth Noack offers the first sustained examination of Iveković's widely exhibited, now canonical artwork. After a detailed analysis of the work's formal qualities, Noack considers its position in the context of artistic production and political history in socialist Yugoslavia. She looks closely at the genesis of the performance and its documentation as a work of art, and relates the making of the work and the politics of canon-making to issues pertaining to the former East-West divide. She discusses the artistic language and meaning-making in relation to conceptualism and performance and to the position of women in Tito's Yugoslavia and in society at large, and investigates the notion that Iveković's work of this period is participating in citizenship, shifting the focus from the artist's subversive act to her capacity to shape the terms through which we order our world.
This classic study is an introduction to “oral poetry,” a broad subject which Ruth Finnegan interprets as ranging from American folksongs, Eskimo lyrics, and modern popular songs to medieval oral literature, the heroic poems of Homer, and recent epic compositions in Asia or the Pacific. The book employs a broad comparative perspective and considers oral poetry from Africa, Asia, and Oceania as well as Europe and America. The results of Finnegan’s vast research illuminate and suggest fresh conclusions to many current controversies: the nature of oral tradition and oral composition; the notion of a special oral style; possible connection between types of poetry and types of society; the differences between oral and written communication; and the role of poets in non-literate societies. Drawing on insights from anthropology and literary scholarship, Oral Poetry attempts to create a greater appreciation of the literary aspects of this fascinating form of poetry. Finnegan quotes extensively from a wide variety of sources, mainly in translation. The discussion is presented in non-technical language and will be of interest not only to sociologists and social anthropologists, but also to all those interested in comparative literature and in folk poetry from cultures around the world. The re-issue of this text, widely used in folklore, anthropology, and comparative literature courses, comes at an appropriate juncture in interdisciplinary scholarship, which is witnessing the breakdown of traditional disciplinary boundaries and an increase in the comparative study of oral poetry. For this volume Ruth Finnegan has provided a new foreword relating the text to more recent developments.
How the practice of titling paintings has shaped their reception throughout modern history A picture's title is often our first guide to understanding the image. Yet paintings didn’t always have titles, and many canvases acquired their names from curators, dealers, and printmakers—not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David’s Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns. Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.
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